JWFan Composers The Composer's Thread

[Gnome in Plaid 219]

A bit irrelevant now since Easter has passed, but here's an early concert piece for strings inspired by "The Crucifixion".

I would love to hear that with real strings with emotion, because emotion should be the 50% of the piece..

(the specific recording is with soundfonts.)

Wow. That is an absolutely beautiful piece of music. I'd love to hear more of your stuff.

[filmmusic 1,827]

Wow. That is an absolutely beautiful piece of music. I'd love to hear more of your stuff.

Thank you very much Gnome! I really appreciate it.

You can hear more in my youtube channel where that video is, and here:

https://soundcloud.com/konstantinoszacharopoulos/sets/film-scores

Though all the rest, are of traditional tonal harmony, and mainly pieces from films.

[filmmusic 1,827]

The director of a short film I had composed the music for 5 years ago, made an interactive video of the complete soundtrack, that I thought to share here:

My favourite pieces are the End Credits, and the alternate Finale.

The alternate finale was the original version, but then we decided that maybe it was too much, and so I composed the final version.

As for Constellations, I composed 2 versions together for the director to choose one.

The scene is at night, where 2 soldiers who are hiding from the Germans (a Greek and an Italian) look at the stars and recognize the different constellations.

The one (the unused alternate) was a pastoral approach with a solo flute, and the other one is with synths which gives the scene a more mystical and otherwordly character.

I preferred the flute cue, but we ended up using the synths one..

[Jason 1]

There is some great talent in this forum! I have enjoyed many of the pieces I've heard here. It's a pleasure to be among such gifted artists.

Here is a mini-"suite" I recently composed in Notion 4, practicing a few different styles:

https://soundcloud.com/jason-w-childress/orchestral-mini-suite

Well done, everyone! Keep up the good work....

[Dixon Hill 4,234]

Is there more to it that I can't find, or are all of those movements in two minutes?

[Jason 1]

Is there more to it that I can't find, or are all of those movements in two minutes?

No, it's just a two-minute piece.

I did it as a practice exercise, the goal being to compose in several different styles.

Thanks for listening.

[Dixon Hill 4,234]

The director of a short film I had composed the music for 5 years ago, made an interactive video of the complete soundtrack, that I thought to share here:

My favourite pieces are the End Credits, and the alternate Finale.

The alternate finale was the original version, but then we decided that maybe it was too much, and so I composed the final version.

As for Constellations, I composed 2 versions together for the director to choose one.

The scene is at night, where 2 soldiers who are hiding from the Germans (a Greek and an Italian) look at the stars and recognize the different constellations.

The one (the unused alternate) was a pastoral approach with a solo flute, and the other one is with synths which gives the scene a more mystical and otherwordly character.

I preferred the flute cue, but we ended up using the synths one..

This is very good stuff right here. Nice.

So what's everyone working on lately? Sharky, whatever happened with that piece for multiple pianos that you had in mind?

I'm putting the finishing touches on a saxophone concerto at the moment. Used some procedures in the first movement that brought me the closest I've ever come to pure serial writing.

[filmmusic 1,827]

Thank you very much GreyPilgrim!

* * *

This is a short film I composed the music for, 3 years ago (just a very short piece at the end, and a thing as introduction).

It's an anti-racist film which generally has made an impression.

I just remembered it now, because Ashton Kutcher linked this to his facebook profile.

The reason I'm posting this, is that when I'm asked to compose something simple, I find it very very difficult!

Because I don't want the simple to be or sound simplistic but more sophisticated.

Well, here I tried some dissonant notes in the chords with some 2nds and a bit of quartal chords.

This is the 2nd version. I had composed another piece with more instruments, but the director felt it was too much.

So, I used here only piano and synth.

By the way, I should point out that when I composed the piece, the film hadn't been shot. I wrote what came to me by reading the script (and spotted where the music should start exactly). Fortunately I think it fitted in the end..

Edit:

Here's the 1st version:

http://picosong.com/9EYc/

[Dixon Hill 4,234]

For all my blabbering back over the summer about my changing artistic goals, I've finally found that the problem doesn't rest in the individual musical language I've developed and its position on the scale between minimal and maximal or anything like that, but in my approach to form and content. That's where I need to start being more honest, more thoughtful. No more traditional forms of any type, and no more concepts that don't completely capture my heart and mind.

What are people working on? KK? Sharky? Ludwig? Bueller?

[KK 3,307]

Right now?

Well there's a pending choral work I've been writing. Originally I intended to get it done for a call for submissions here in Canada, but I couldn't get something satisfying done by then. It's been pretty frustrating. I keep coming up with these ideas that really strike me at the time, then I put it aside for a bit because life gets in the way and then I come back to it and find it to be total shit. So it's been an on-going rewriting process. Elements of the core original concepts that gave me the idea to start is still there, but the ideas keep changing. What I need is to sit down for a week or two and just ham out a full finished draft. As it is, I keep finishing bits and pieces and then dismissing them over large time gaps. One of my goals this holiday is to see what I can do about that.

Another interesting project is coming up though. I might be writing something for a dance production that's incorporating Indian and Western elements. It's going to be an intriguing mix of pre-recorded stuff (DAW+live elements) in combination with live musicians on stage. Never tried anything like it before, but I'm pretty excited for it. I guess that's why I've been listening to stuff like Whitacre's Winter and Adams' Dharma at Big Sur. Not that I'm writing in fashion after that, but I just want to hear the kind of approaches that have been taken. I don't want to take your typical white-washed version of what Indian music sounds like. I really want to try and delve into the core of what both worlds have to say without ever having to lean more heavily on the other. Combine key elements of both to create a distinct sound of its own. And that's what I really felt Adams nailed with the Dharma piece. Of course, that's Adams....and this is me...lol!

Other than that, I just have an end credits piece sketched out for a short film I was working on. Finished the score a while back, but they needed something for the credits, and I haven't had time to mock that one up yet. Might post some stuff from that here when I can, but I'm usually not very fond of the stuff I write for films. Always sound too...safe? I don't know...that plus I'm pretty sensitive about my work compared to some you heavy weights here

I'm glad you've found that spot where you know how to define your voice from this point forward. I'm still trying to get there, still learning, and no doubt some of my work might even come off as imitation. But just from the way I approach writing from the last year shows how much that's changed, and I'm liking where my sound is heading.

[Dixon Hill 4,234]

Sometimes you do need to just sit down and force your way through to the end of a piece, because often stepping away and then returning to something results in a complete change of opinion on what you have done thus far. You get stuck in a loop of rewrites and never make any progress.

This dance piece sounds very interesting. And you should definitely share it, or anything! Several of us, myself included, need to improve our sharing habits, actually....

[KK 3,307]

With the discussion going on the thread, I'd really like to hear some more work from you guys. This used to be a pretty active thread back in the day, but no one posts here anymore, which is a shame.

Here's a suite (and by suite, I mean a shoddily edited collection of cues) from a short film I scored recently.

https://soundcloud.com/k-k-8/dachshund-suite

It's nothing much, especially compared to you heavy-weights, but hey, if it gets some of you more shy folk to post more of your works, then it got the job done!

[karelm 2,913]

Sounds very nice KK. I like the Star Treky opening. Really like when the melody kicks in around 1:40. Very filmesque.

Here is something from me about a drunk man remembering his lost lover while viewing pictures :

https://soundcloud.com/karelm-1/karimelm-ths-ost-memories

...and here the lovers reuinite at the end of the film.

https://soundcloud.com/karelm-1/karimelm-reunion

and an action adventure :

https://soundcloud.com/karelm-1/karimelm-adventurept2v2

[Dixon Hill 4,234]

With the discussion going on the thread, I'd really like to hear some more work from you guys. This used to be a pretty active thread back in the day, but no one posts here anymore, which is a shame.

https://soundcloud.com/k-k-8/dachshund-suite

It's nothing much, but hey, if it gets some of you more shy folk to post more of works, then it got the job done!

I like your taste in texture.

This is actually pretty remarkable even just from a production angle.

[KK 3,307]

Sounds very nice KK. I like the Star Treky opening. Really like when the melody kicks in around 1:40. Very filmesque.

Thanks! For some reason, I accidentally deleted what the music was for in my original post. But yeah, that "suite" is just a couple of cues from a short film I scored recently, put together.

Here is something from me about a drunk man remembering his lost lover while viewing pictures :

https://soundcloud.com/karelm-1/karimelm-ths-ost-memories

...and here the lovers reuinite at the end of the film.

https://soundcloud.com/karelm-1/karimelm-reunion

and an action adventure :

https://soundcloud.com/karelm-1/karimelm-adventurept2v2

Love the first track ("Memories"), has a European, Delerue-esque vibe to once you get to the flute melody.

And nice Williams-Esque action cue! I presume these are all actual recordings?

With the discussion going on the thread, I'd really like to hear some more work from you guys. This used to be a pretty active thread back in the day, but no one posts here anymore, which is a shame.

https://soundcloud.com/k-k-8/dachshund-suite

It's nothing much, but hey, if it gets some of you more shy folk to post more of works, then it got the job done!

I like your taste in texture.

This is actually pretty remarkable even just from a production angle.

Haha thanks! Yeah, it was a short drama film about a man with Alzheimer's, so I aimed for a Newman-esque sound. And I kept playing around with various sounds and combinations, focusing more on that airy, hazy sound that I really dug, than some complex composition. Considering my inadequate DAW skills, I'm not sure how well it really turned out, but I'm glad you liked it!

Now it's your turn!

[Dixon Hill 4,234]

Patience, Viceroy, patience.

What sample libraries do you use? Particularly the solo cello.

[KK 3,307]

For this? A combination of CineStrings, Miroslav Philharmonik and some other bells and whistles I've got.

The solo cello was an early Christmas present. The Tina Guo Acoustic Cello Legato from Cinesamples:

http://cinesamples.com/product/tina-guo-acoustic-cello-legato

[Dixon Hill 4,234]

Hm, I've always found Cinesamples kind of blah but that is a nice solo cello.

[KK 3,307]

Still better than awful EWQL trailer trash!

And yeah, I can pretend to write for a virtuoso cellist on my computer now

What strings or sample libraries do you rely on in general?

[Not Mr. Big 4,639]

With the discussion going on the thread, I'd really like to hear some more work from you guys. This used to be a pretty active thread back in the day, but no one posts here anymore, which is a shame.

Here's a suite (and by suite, I mean a shoddily edited collection of cues) from a short film I scored recently.

https://soundcloud.com/k-k-8/dachshund-suite

It's nothing much, especially compared to you heavy-weights, but hey, if it gets some of you more shy folk to post more of works, then it got the job done!

Damn. That's really good!

[Dixon Hill 4,234]

Yeah well EWQL is geared towards a specific aesthetic and doesn't really offer much room for compromise - they're all totally wet samples, so good luck if you want to blend their stuff with something else. Not for me. Cinsesamples and indeed most sample developers now produce with that world in mind - EPPPICCCCCC!!1111!! orchestral. There's little out there as far as sampling for someone who is a pencil and paper composer, and wants to approach mock-ups from a simple and flexible perspective. I've spent years researching and testing, trying to put together the ideal virtual orchestra. These days, I feel like I've finally succeeded. And the total cost is pleasingly low. I look at VSL's stuff and just laugh. Even being able to afford and justify buying their stuff now, there's no way in hell I ever would. I would only change my setup if Jeremy Soule decided to make his gear available (which may actually happen).

For section strings I use a certain mythic, coveted, discontinued library from the days when Garritan produced true quality. And Kirk Hunter's stuff for solo strings, which are really something, especially considering their price. It helps to have a string player as the one running the company I guess.

[KK 3,307]

Nice! Yeah, I'm not even close to that. But I'm slowly getting a grasp of that skill, taking sample libraries and making it your own by manipulation. That was what I struggled with at first, but it's an essential asset to working digitally. I would love to be as skilled as Soule is with this kind of stuff. And as amazing as his samples are, I still feel like they wouldn't be as good without Soule being behind them.

And I agree Cinesamples' older stuff aimed for that "EPIC" sound, but have you heard their latest CineStrings. It's a lot more flexible I feel. And they have some neat smaller niche libraries with colourful sounds you can add to your library.

What do you believe is the best library to invest in with what's available?

With the discussion going on the thread, I'd really like to hear some more work from you guys. This used to be a pretty active thread back in the day, but no one posts here anymore, which is a shame.

Here's a suite (and by suite, I mean a shoddily edited collection of cues) from a short film I scored recently.

https://soundcloud.com/k-k-8/dachshund-suite

It's nothing much, especially compared to you heavy-weights, but hey, if it gets some of you more shy folk to post more of works, then it got the job done!

Damn. That's really good!

Thanks Big!

[Dixon Hill 4,234]

Best as far as what? Strings, brass? Synths?

I hesitate to point it out since it seems to be a nicely kept secret but Wallander Instruments can't be surpassed when it comes to woodwinds and brass if you ask me. Those instruments require extreme flexibility in playing to sound satisfying, and samples can't supply that. Modeling is the only way to go for wind instruments.

[KK 3,307]

All 3 of those.

Especially the third one. I don't have anything for synths. Do you use Omnisphere?

[karelm 2,913]

Sounds very nice KK. I like the Star Treky opening. Really like when the melody kicks in around 1:40. Very filmesque.

Thanks! For some reason, I accidentally deleted what the music was for in my original post. But yeah, that "suite" is just a couple of cues from a short film I scored recently, put together.

Here is something from me about a drunk man remembering his lost lover while viewing pictures :

https://soundcloud.com/karelm-1/karimelm-ths-ost-memories

...and here the lovers reuinite at the end of the film.

https://soundcloud.com/karelm-1/karimelm-reunion

and an action adventure :

https://soundcloud.com/karelm-1/karimelm-adventurept2v2

Love the first track ("Memories"), has a European, Delerue-esque vibe to once you get to the flute melody.

And nice Williams-Esque action cue! I presume these are all actual recordings?

Thank you, yes about 60 piece for the memories piece to 80 piece orchestra for the adventure one. Thanks for the Delerue comparison, that's quite nice.

Still better than awful EWQL trailer trash!

And yeah, I can pretend to write for a virtuoso cellist on my computer now

What strings or sample libraries do you rely on in general?

I don't know about you guys, but I have always found EW to be buggy. It frequently crashes for me. I use LASS and Cinestrings. Also symphobia for just a generic string pad. I find berlin samples to be my go to for winds. I love that they sampled each player in a section separately. So for example flute 1, flute 2, and flute 3 are three different players.

[Sharkissimo 1,973]

Especially the third one. I don't have anything for synths. Do you use Omnisphere?

Omnisphere and Absynth are good, but when it comes to creating patches from scratch, U-he's Zebra 2 and Diva are king.

[Dixon Hill 4,234]

So, what's available today. If GOS2 ever happens then I imagine that will be the ultimate string resource but I wouldn't hold my breath on that one. I haven't used Kirk Hunter's section strings but going by his solos, I bet they're excellent. Lot of vital tweaking can be done with them I believe. I also hear that LASS provides very useful aleatory features.

As I said above, for brass and woodwinds, it begins and ends with Arne Wallander's stuff. There's no comparison with samples.

I don't write very extensive, modern percussion parts, so I don't use any of the major libraries. Can't really comment on that but Spitfire seems appealing in that department. Been considering picking some of that up even if I don't often need it.

Pianos are a dime a dozen. Best to look for something that sounds stylish to you rather than "real." They all sound real. Playability is key. Hans' favorite is the old but sweet Art Vista Malmsjö. There's an astonishing freebie from Ivy Audio called "Piano in 162." Get that one post-haste. It's big though. A lot of people swear by Pianoteq, and it is excellent in its flexibility and depth, but modeling pianos is less successful than winds to my ears. As far as other keyboards go, chances are basic stuff like GPO or Logic's own library will suffice there as it does for me, like with percussion.

Garritan and Milan Audio are the authorities on pipe organs. Wonderful stuff.

Choirs are a weak point. Again, I use basic stuff because I write mostly textural, wordless choral parts and don't need anything more. I'm not even sure what I would get if I decided to expand.

And finally synths. I'm a big Zebra fan. It can do anything, simply. So can Omnisphere - the choice between them is more about fundamental sound than functionality. Alchemy also has a nice sound but its developers just went belly up.

I don't know about you guys, but I have always found EW to be buggy.

I've never really heard good things about their player.

[KK 3,307]

EW being EastWest right? Yeah. Young composers usually rely on those libraries for 1) the epic sound, 2) their generally affordable prices. I've never purchased any of their libraries before though. Never liked the sound.

And fascinating post with recommendations Grey! Really appreciate it. Exactly the kind of discussion I was hoping to dig out.

I've heard bits of the aleatory on LASS, but can you do anything else other than the usual "dissonance/creepy" sound? I've always been hesitant about using aleatory patches. I'd rather try and pathetically emulate it manually to achieve the sound I want.

I've heard really good things about the Berlin samples (as karelm suggested), especially their winds. Thoughts on those from the others?

And I'll check Zebra out. Omnisphere seems to offer neat things, but half of the library seems to be for skills beyond my reach at this moment.

[Dixon Hill 4,234]

I don't know about LASS, I haven't used it myself, but some friends think I would approve. Apparently there's at least some degree of flexibility involved, it's not just prerecorded patches of creepy techniques or whatever. I'm with you on playing that sort of stuff part by part, which is what I do with everything but strings, for obvious reasons. I've also never used the Berlin stuff but if they offer actual sections instead of just a solo and unison patch, that's definitely a plus.

Zebra is cheaper than Omnisphere I believe. Plus you can download Hans' patches!

[RedBard 71]

So not to deter this thread too far from the current conversation, but...

I have this original orchestral work that I'm confident enough to share here:

http://picosong.com/5Umw/

Be brutally honest with me.

Meanwhile, for those who love to hate on EWQL libraries:

I happen to use them for composing concert pieces and expand my portfolio, not just for (as TGP put it) "EPPPICCCCCC!!1111!! orchestral" or even for (as KK) "trailer trash"

Anyone who's had experience with SA players (including myself) knows how to a) eliminate the "wetness" of each sample and b) achieve the most realistic sound by adjusting the sound envelope (and it also helps to pick the right samples to start with).

As for the crashing... yes, it's happened to me quite a bit in the past, but it was never because of a software problem. It was due to insufficient processor power. With my added processing power, it runs smoothly now.

Crash-free.

Still, if it turns out that I wind up as the lone defender of EWQL libraries, so be it. I have no regrets.

[Dixon Hill 4,234]

Is that Debussy quote intentional?

[RedBard 71]

It's a little fun thing I do with my compositions: classical and late-romantic music easter eggs.

[Jilal 569]

My first - serious, dare I say? - little piece for piano: a minuet in B-flat major. I wouldn't dare call it anything even remotely special or interesting, but you have to begin somewhere, I guess. Bear in mind that I have never had any education in composition at all.

The dissonance is very intentional - it's the free and easy copycat in me trying to imitate Korngold's application of dissonant harmony.

* There's a redundant mezzoforte mark in this video, anyone who catches it receives eternal honor, a box of bananas and, should I ever become a prolific composer in any field, autographed copies of my manuscripts.

[karelm 2,913]

My first - serious, dare I say? - little piece for piano: a minuet in B-flat major. I wouldn't dare call it anything even remotely special or interesting, but you have to begin somewhere, I guess. Bear in mind that I have never had any education in composition at all.

The dissonance is very intentional - it's the free and easy copycat in me trying to imitate Korngold's application of dissonant harmony.

* There's a redundant mezzoforte mark in this video, anyone who catches it receives eternal honor, a box of bananas and, should I ever become a prolific composer in any field, autographed copies of my manuscripts.

https://www.youtube.com/watch?v=mczude95Smk

Nice job on the minuet. I take it you are a student? Nice melody. One thing, at bar 16 to 17, before the modulation, the new key could be set up better. For example, in bar 16, you have a B flat major but the full triad isn't there and as you go to the subdominant key (E flat major) at bar 17, the shared B flat in the bass doesn't give a full sense of a new key being reached which is stylistically important. I would suggest E flat in the bass at 17 and adding an F at 16 and 56. Also, you can approach the modulation with a cadence if you've learned the various types (perfect, imperfect, flagal, etc.). Nice piece.

[Dixon Hill 4,234]

As he said he's not had any education in composition (not a student). So this is a very fine piece considering.

That the modulation isn't readily apparent at the start of the bar doesn't bother me at all, and indeed saving some of those new accidentals for further into the measure is a fairly Mozartian thing to do, taking you by surprise.

[Dixon Hill 4,234]

Thinking of posting the handful of chamber pieces...hopefully the mockups won't suck. I need eight solo voices and I'm guessing most solo voice libraries are poo....

[KK 3,307]

Choral libraries in general just suck.

Looking forward to hearing it though!

[Dixon Hill 4,234]

What do you use, and does it include solo voices?

I can only find soprano stuff... I need mezzo-sopranos and baritones, damn it. I'll have to sing the parts myself. I'm sure I can cover that range... yeah.

[karelm 2,913]

What do you use, and does it include solo voices?

I can only find soprano stuff... I need mezzo-sopranos and baritones, damn it. I'll have to sing the parts myself. I'm sure I can cover that range... yeah.

How long is the piece? If you are interested, I have a few buddies who are pro session singers and can do this over the internet but its not too cheap. PM if interested. It might be worth considering if the demo can springboard to other efforts.

[Dixon Hill 4,234]

It's about forty minutes all told. I know people too and am not considering their aid for the "not too cheap" reasons. I can make do for now. Appreciate it though.

[KK 3,307]

What do you use, and does it include solo voices?

I can only find soprano stuff... I need mezzo-sopranos and baritones, damn it. I'll have to sing the parts myself. I'm sure I can cover that range... yeah.

I've never found solo voices that were satisfactory. Then again, I've never really invested in any choral libraries, just because I haven't found one that I feel confident with to use well. They all sound fake to me.

I have some nice choral patches to work with though that came with my Miraslov (cheap stuff, but hey, it's how you use it right?), that has some cool glisses and various sounds that are quite nice on the female register (and at times the male) when mixed well. It's always sufficed when I need choral writing in the background. But I've never tried mocking up a full-out choral piece, and so often they go unheard. At best, I got my high school choir to sing some stuff for me a few times.

[Jilal 569]

I decided to try and compose something a bit more mature than just another minuet, so I ended up writing this:

https://www.youtube.com/watch?v=T74Syp1qkJs

Thoughts?

[karelm 2,913]

I decided to try and compose something a bit more mature than just another minuet, so I ended up writing this:

https://www.youtube.com/watch?v=T74Syp1qkJs

Thoughts?

Sounds nice...a bit of a nod to war horse? One thing to try is have the strings act more like individual lines including suspensions and anticipations to make the texture not feel too static.

[Jilal 569]

Sounds nice...a bit of a nod to war horse?

Thank you! As for the WAR HORSE nod, perhaps, yes, but it wasn't fully on purpose - I only realized afterwards.

One thing to try is have the strings act more like individual lines including suspensions and anticipations to make the texture not feel too static.

Could you elaborate a bit more? I'd be very interested in more specific comments - e.g. what part of the cue are you talking about, do you have any specific advice ... ?

If you'd like me to, I could send you the sketch score via PM (before you make any assumptions regarding my age: it's neatly sketched on a six-stave pad ).

[karelm 2,913]

Sounds nice...a bit of a nod to war horse?

Thank you! As for the WAR HORSE nod, perhaps, yes, but it wasn't fully on purpose - I only realized afterwards.

One thing to try is have the strings act more like individual lines including suspensions and anticipations to make the texture not feel too static.

Could you elaborate a bit more? I'd be very interested in more specific comments - e.g. what part of the cue are you talking about, do you have any specific advice ... ?

If you'd like me to, I could send you the sketch score via PM (before you make any assumptions regarding my age: it's neatly sketched on a six-stave pad ).

What I meant was that in the second half, you have block chords on the strings. To describe this in simplest terms, think more linearly so each line of the strings is a moving line rather than a harmonic block. So if you have the strings as individual lines (technically counterpoint) then you can have not all the lines arrive at the harmony at the same time. Some lines might be a beat or two late (suspension) or a beat or two early (anticipation) while a pedal is sustained. A great example of doing this "morning mood" type of thing is the opening and closing of "Appalation Spring" where from a unison, we get a 5th, then a moving line then another moving line. It is not too busy but very effective writing. Take a listen to the first minute of this as the frontier wakes up:

JW is full of contrapuntal writing. A great example for a similar style (just listen to 30 seconds and you'll see it is very heavy on individual string lines with movement in the inner voices) - start at 3:30:

When the flute comes in around 3:35, the strings wait for a moment to move and have clear harmony but also indepently moving lines with lots of suspensions/anticipations. Beautiful and effective string writing.

[Dixon Hill 4,234]

I am considering moving on from pencil and paper, and from writing "concert music" in general.

Tools are tools. Whatever tools allow you to complete a job with more efficiency and less disconnect between the brain and what it produces, are good tools. Having put some serious time in to give writing at the computer a chance, I've determined that it works better for me, and that the only thing that might keep me wedded to pencil and paper is the silly romanticized image of it. No, I don't need to cling to that. And I've been wrong to put off the transition for this long.

As for writing non-film/media music... it's become irrelevant to me. As I get more opportunities to compose that aren't self-generated, I remember that my initial passion was not to be cloistered away writing for the desk drawer. And that I've never felt truly fulfilled by writing independent pieces. I'm not all that proud of any of them. Collaboration, responding in my own way to someone's cinematic vision, communicating with an audience... that's what I care about.

I've discarded my list of ideas for pieces. I'd like to burn most of what I've written until recently, but I probably won't be allowed to do that.

But for a few producers and a handful of consumers, the concert hall is dead. Long live film.

[KK 3,307]

Care to elaborate?

[Dixon Hill 4,234]

I did!

[KK 3,307]

You sneaky bastard!

I kind of know what you mean. Though I don't nearly have the kind of experience you do, there's something oddly comforting about collaborating and writing for a picture or another project. Something rather fulfilling about it, where you might feel more home at, like you're contributing to something greater than just the noodlings floating in your head.

Having said that, there are things I'd rather try independent of any film, because there'a whole other feeling of satisfaction that comes with the discipline of putting music to a more self-sustainable format "appropriate" for the concert hall.

But the great thing is that none these options are mutually exclusive. And I like having the opportunity to diversify like that. Sometimes I get frustrated with a piece and would rather just work more collaboratively on a short film, and other times I feel held back by the limitations of context and other creative property. And I doubt you'll really be limiting yourself to just film anyway. 5 years from know, you might be hungering for the concert hall again. The great thing about this industry is that you really don't have to pick one over the other.

About the whole "burning your list of ideas"....does this mean I get to take the Silmarillion project all for myself then?

[Dixon Hill 4,234]

Yes! Do it! The world needs it.

You're right of course. Cravings change by the day. And that's not all. The instant that the world of concert music is restored to its former glory, I'll be the first one lining up to write something. As it is now though... I'm done with doing things alone for non-existent ears.